A sign detailing the many rules at a local water reservoir, to fit the theme 'Limit'.

Koreográfus: Jónás Zsuzsa

Előadók: Jónás Zsuzsa és Jenna Jalonen

Another shot from the paradijspad klompenpad, klompenpaden.nl/klompenpad/paradijspad/ (in Dutch)

Brands Hatch 2015

During PBS’s AUSTIN CITY LIMITS performance featuring Sharon Van Etten at the Television Critics Association Winter Press Tour in Pasadena, CA on Friday, January 10, 2020, rock songstress Sharon Van Etten treated TCA members to a special acoustic set introduced by series executive producer Terry Lickona.

All photos in this set should be credited to Rahoul Ghose/PBS

mahjongbeginner 字一色 香港麻雀例牌 Hong Kong Mahjong Limit Hands

hong kong mahjong 13 Fan, pure honors 字一色

麻将国标牌型 Chinese International Mahjong Rules And Limit Hands

麻將64番：字一色。mahjong 64 Fan, pure honors, all honors

麻將12番：三风刻(東，南，北)。three triplets of wind tiles, east and south and north

麻將2番：東圈风刻。triplet of prevailing east wind

麻將2番：東门风刻。triplet of own east wind

麻將1番：单听一张中牌。one chance winning tile

麻將1番：自摸胡。winning tile drawn from wall

廣東麻将例牌 Cantonese Mahjong Limit Hands

cantonese mahjong 40 Fan, pure honors 字一色

Volvo FH 460

Local: Itapema-SC - Rodovia BR-101

The Vertical Limit Attraction in Magic World, Amusement Park in Hyères, Var, France.

Copyright and permission to use should be sought to:

farsac.t[at]gmail.com

Our top secret custom build is top secret no more. We helped Red Bull create a mobile convenience store for Circle K that they rolled out at their annual New Year's Eve bash - this year in San Diego - that they branded as No Limits.

With a product as pliable as shipping containers, we say No Limits indeed.

See more at our blog post. boxmanstudios.com/red-bull/

Titulo: Arte sem limites

Autor: Marcelo Justo/Folhapress, local: Teatro Dias Gomes, em São Paulo. Data: 05-09-2009

Legenda: A atriz Michele Balderama, 21, ensaia com elenco da Oficina dos Menestréis Cadeirantes, para o musical 'A Mansão de Miss Jane'.

Foto exposta na Retrospectiva 2009 - 5ª Mostra Anual de Fotojornalismo da ARFOC-SP - Associação de Repórteres Fotográficos e Cinematográficos do Estado de São Paulo, no Conjunto Nacional, na Av. Paulista.

De izquierda a derecha: Lorena Salas. Triatleta (Iroman), Mariel Hawley. Nadadora (Cruce del canal de la Mancha). Galia Moss. Velerista (Primer mexicana en cruzar el Océano Atlántico en solitario). Badía Bonilla. Montañista (Séptima en el ranking mundial en la categoría de 8,000 metros y tercera mexicana en la cima del Everest). Paty Kohlmann. Nadadora (Cruce del Canal de la Mancha y dos Olimpiadas). Fabiola Pineda. Escaladora de roca. Nahila Hernández. Ultra maratonista (segundo lugar mundial en 100 millas de carrera en el Himalaya y Desierto de Sahara). Carmen Peña. Montañista (Primer mexicana en ascender las montañas más altas de América y cuarta mexicana en la cima del Everest). Silvia Núñez. Corredora en vertical (segundo lugar mundial en carreras verticales).

We follow 37423 during a big shunt of Gresty Bridge to make way for TPE 68s coming back from their European holiday.

Such a great indie pop band to listen to live in concert at the, Austin City Limit Music Festival. Nate Ruess singing, "We Are Young" one of the groups hit singles had my adrenaline running high. The crowd of people was so excited by the groups' performance, which was just amazing to watch and listen to. My body was continuously moving to the beat of the melodic sound coming from the nearby stage ...so lucky, to be up close and to be able to click away in capturing a good shot of them on the Lady Bird Stadium.

.................

youtu.be/Sv6dMFF_yts

Give me a second, I

I need to get my story straight

My friends are in the bathroom

Getting higher than the Empire State

My lover she is waiting for me

Just across the bar,

My seat's been taken by some sunglasses

Asking 'bout a scar

I know I gave it to you months ago

I know you're trying to forget

But between the drinks and subtle things

And the holes in my apologies

You know I'm trying hard to take it back

So if by the time the bar closes

And you feel like falling down

I'll carry you home

Tonight,

We are young

So let's set the world on fire

We can burn brighter

Than the sun

Tonight,

We are young

So let's set the world on fire

We can burn brighter

Than the sun

Now I know that I'm not

All that you got

I guess that I,

I just thought,

Maybe we could find new ways to fall apart

But our friends are back

So let's raise the cup

'Cause I found someone to carry me home

Tonight,

We are young

So let's the set the world on fire

We can burn brighter

Than the sun

Tonight,

We are young

So let's set the world on fire

We can burn brighter

Than the sun

Carry me home tonight

(La la la la la la)

Just carry me home tonight

(La la, la la la la la la)

Carry me home tonight

(La la la la la la)

Just carry me home tonight

(The world is on my side, )

Carry me home tonight

(I have no reason to run, )

Just carry me home tonight

(So will someone come and carry me home tonight?)

The angels never arrived,

But I can hear the choir

So will someone come and carry me home

Tonight,

We are young

So let's set the world on fire

We can burn brighter

Than the sun

Tonight,

We are young

So let's set the world on fire

We can burn brighter

Than the sun

So if by the time the bar closes

And you feel like falling down

I'll carry you home,

Tonight.

by Fun.: We Are Young

The kanchi Kailasanathar temple is the oldest structure in Kanchipuram. Located in Tamil Nadu, India, it is a Hindu temple in the Dravidian architectural style. It is dedicated to the Lord Shiva, and is known for its historical importance. The temple was built from 685-705AD by a Rajasimha ruler of the Pallava Dynasty. The low-slung sandstone compound contains a large number of carvings, including many half-animal deities which were popular during the early Dravidian architectural period. The structure contains 58 small shrines which are dedicated to various forms of Shiva. These are built into niches on the inner face of the high compound wall of the circumambulatory passage. The temple is one the most prominent tourist attractions of the city.

GEOGRAPHY

The temple is located on the banks of the Vedavathi River at the western limits of the Kanchipuram. It faces east. Its location, demarcated according to the religious faiths, is in one of three "Kanchis", the Shiva Kanchi; the other two Kanchis are, Vishnu Kanchi and Jain Kanchi. It is 75 kilometres from the Chennai, the capital city of Tamil Nadu. Kailasanathar is one of several notable temples in Kanchipuram, the others being Ekambaranatha, Kachapeshwarar, Kamakshi Amman, Kumarakottam Temple, and Varadaraja Perumal.

HISTORY

The Kailasanathar Temple (meaning:“Lord of the Cosmic Mountain”), is built in the tradition of Smartha worship of Shiva, Vishnu, Devi, Surya (Sun), Ganapathi and Kartikeya, in Hinduism, a practice which replaced the Buddhism.

Temple construction is credited to the Pallava dynasty, who had established their kingdom with Kanchipuram (also known as "Kanchi" or "Shiva Vishnu Kanchi") as the capital city, considered one of the seven sacred cities under Hinduism. There was an interregnum when the Chalukya rulers defeated the Pallavas and occupied Kanchipuram. However, the Pallavas regained their territory and started expanding their capital city of Kanchipuram and built many temples of great magnificence. The only temple of this period which is extant is the Kailsahanathar Temple.

The temple was built during 685-705AD. It is the first structural temple built in South India by Narasimhavarman II (Rajasimha), and who is also known as Rajasimha Pallaveswaram. His son, Mahendravarman III, completed the front façade and the gopuram (tower). Prior temples were either built of wood or hewn into rock faces in caves or on boulders, as seen in Mahabalipuram. The Kailasanathar temple became the trend setter for other similar temples in South India. According to local belief, the temple was a safe sanctuary for the rulers of the kingdom during wars. A secret tunnel, built by the kings, was used as an escape route and is still visible.

The temple has gone by other names such as Kachipettu Periya Thirukatrali (meaning: Stone Temple of Kachipettu, the old name for the present day Kanchipuram) when Rajaraja Chola I of the Chola Dynasty paid a visit to this temple. Inspired by the architecture of this temple, he built the Brihadeeswarar Temple in Thanjavur. Currently, Kanchi Kailasanathar Temple is maintained by Archaeological Survey of India.

ARCHITECTURE

The temple has retained the Pallava architecture in its original stylized form with influence of the later styles developed by the Chola Dynasty and Vijayanagara Emperors. It is of stone built architecture unlike the rock cut architecture built into hallowed caves or carved into rock outcrops as in Mahabalipuram. The tall gopuram (tower) is to the left and the temple complex is to the right. The temple's foundations are made of granite, which could withstand the weight of the temple, while the super structure including the carvings are all made of sandstone. Initially, only the main sanctuary existed with pyramidal vimana and a detached mandapa (main hall). The temple complex is complete in all respects as it has garbagriha (sanctum sanctorum), antarala (inner enclosure), mandapa, a high compound wall, and an entrance gate, the gopuram. The mandapa, which was initially detached, was made part of the main shrine by interposing an ardhamantapa (smaller hall). The pillars of the mandapa have the repetitive features of mythical lion mounts.The structure has a simple layout with a tower or shikara at the center of the complex. The shikara of the temple, above the main shrine (sanctum sanctorum), is square in plan and rises up in a curvilinear style or pyramidal shape. The tower has many levels rising proportionately. At the top of this tower, there is a small roof in the shape of a dome. The pillar elements with mythical animal shapes (lions on the base) are extra features in Pallava style. At the entrance, the gopuram walls are plastered. Its entrance wall has eight small shrines and a gopura, precursor to the main gopura. At some later stage, the mandapa and the sanctuary were joined by an intermediate hall called the ardhamantapa, which is reported to have marred the beauty of the temple to some extent. The temple is enclosed within walls in a rectangular layout.

SHRINES

The main shrine has a 16 sided Shivalinga in black granite stone deified in the sanctum sanctorum. Within the walls of the main shrine there is padabhanda adhisthana (main pedestal) with very elegantly carved images of gods with a sculpted Nandi, a little distance away giving guard to the deity. On each face of the outer walls of the main shrine there are many carvings of gods and goddesses. In the south facing wall the sculpture depicts Shiva as Umamaheshavara with Varaha (incarnation of Vishnu as a boar) raising the linga, flanked by Brahma and Vishnu and flying amaras at the lower level. The west facing hall has sculptures of Shiva in the form of Sandhya Tandavamurti and Urdhava Tandvamurti and the ensemble is completed with images of ganas in dancing poses and also with images of Brahma, Vishnu, Nandi and Parvathi. The carving of Shiva on the north facing wall is a composition of Tripurantaka flanked by three ganas, goddess Durga with three ganas, and Bhairavi, Kaushiki and Jyestha. The exterior faces of the vimana (tower) have images of Bhikshatana, Somaskanda and Shiva in Samhara-Tandava (destructive dancing) pose. In the inner walls of the prakara (circumabulatory passage) there is galaxy of images of Durga, Skanda, Bhavati, Tripurantaka, Garudarudha-Vishnu, Asura Samhara (slaying of demons), Narasimha Vishnu (Vishnu in the incarnation of lion faced man), Trivikrama, Shiva Tandava (Shiva in a dancing pose), Shiva severing the fifth head of Brahma, desecration of Yagna of Daksha, Brahma and his wife, Gangadhara, Urdhava tandava, Vishnu flanked by Bhudevi and Sridevi, Lingodhbava (emergence of linga), Bhikshatana, Ravana, and Vali offering prayers to Atmalinga Chandikeshvara. Vimana's south facing wall has very elegant image of Shiva in a sitting posture of peace and quietude known as Dakhshinamurti, and its west wall has Shiva in the form of Lingodhbava.

The tower has multiple shrines embodied on all its external faces which have the appearance of miniature shrines. These shrines have three features, the sala (rectangular), kuta (square) and panjara (apsidal) styles. Eight small shrines also decorate the entrance wall. The 58 small shrines are built into the niches of the compound wall that encloses the main shrine; they depict Somaskanada reliefs of Shiva and his consort Parvathi in many dance forms.

OTHER FEATURES

The outstanding feature of sculptures is the profusion of depiction of the erect lions projecting out in several directions. There are two sculptures of Shiva here which are seen holding the Veena (musical string instrument) in the hand. There is a lot of difference between the Veena found in the said sculptures and the present day Veena. There are also beautiful sculptures of Mathahvialasa Prakshanam. The temple also has the earliest stone inscription records of the twenty eight Saivagamas (Shaiva saints) in which the Pallava King Rajasimhavarman states his faith in Shaivism. The murals on the inner walls are well preserved.

CIRCUMAMBULATORY PASSAGE

A circumambulatory passage, with a symbolic meaning is situated along the compound wall. In order to make the circumambulation, there is a narrow entry passage which devotees must crawl through. Seven steps must be climbed in order to reach the passage. Passing through the narrow passage is indicative of passage through life. After the circumambulation, the exit is through a pit or another narrow passage symbolic of death. It is believed that making the circumambulation round the various deities would usher the same blessings as visiting paradise.

FESTIVAL

Maha Shivaratri is the biggest festival held in the temple when thousand of devotees throng the temple in the evening hours to offer prayers to the main deity.

WIKIPEDIA

solo imaginación

Citando como ejemplo el canto de Danilo Montero: "Dulce Refugio", el pastor Mario Vega desarrolló el segundo día de conferencia celular en Iglesia Elim de San Salvador; explicando como un líder debe tener sabias palabras para poder ser de apoyo a las personas que están atravesando diferentes momentos de dificultad. Como dice la canción: "El me alienta y alimenta con su palabra y su amor".

Check for it on RS components - they still sell it! Search "RS 339-421". It turns out it is a limit switch worth £50!

The North Chennai Thermal Power Station (left) and the Ennore Port (right) at Ennore, Madras. Read more.

I have never seen an actual speed limit sign that didn't end in 0 or 5.

Follow me on the following social networking sites:

Facebook l Google Plus l Twitter l 500px l Pinterest

All my images are copyrighted. If you intend to use my pictures for anything, contact me first. Thank you.

Please contact me if you are interested in using my photography.

O foral do Germanelo, concedido por D. Afonso Henriques, abrangia um território que, nos séculos XI e XII, integrava a fronteira instável entre o mundo cristão e o mundo muçulmano, constituindo um novo concelho, em que regulava a sua administração e, definia os seus limites e privilégios.

Apesar de não ser datado, o documento contém indícios de ter sido outorgado entre 1142 e 1146, porque D. Afonso Henriques já se intitula de Rei, mas ainda não faz referência à Rainha Dª Mafalda e porque, aludindo ao Castelo, erguido em 1142, constituirá um apelo para atrair novos povoadores.

Os limites da nova circunscrição são marcados para Leste, Norte e Oeste, estipulando o documento que “as terras que vertam água para o lado de Penela serão de Penela, as que vertam para o lado da Ladeia serão do Germanelo”.

A definição dos limites do novo concelho, estabelecida com base na inclinação das vertentes, foi a seguinte: O limite a Norte ia de Traveira até Alfafar, descendo depois pela povoação até à frente de Alfafar.

Para Noroeste, seguia pelo Ribeiro de Alfafar, até à sua foz no Rio Caralio (ou rio do Mouros).

A Poente, os limites do Município situavam-se entre a Porta de Arcuzen (Garganta do rio dos Mouros na zona de Pega), até ao Alto do Medronhal, abarcando decerto, o Monte do Cruto sobranceiro à povoação do Furadouro, dando a volta à Lagoa do Algar (Algairan) até à Cova da Moura. A partir daí desceria, alcançando Quatro Lagoas e atingindo por fim o Vale de “Pelagio Galiuiz”.

Os limites estabelecidos por Afonso Henriques deixavam, no entanto, uma porta aberta.

A fronteira Sul não estava delimitada, ficando o caminho livre para que os Germaelenses mais ousados avançassem, conquistando novas terras que passavam a integrar o recém-criado concelho e ampliavam a ocupação cristã.

A estratégia resultou. Os Germanelenses, gente forte, aproveitando a hábil disposição régia, expandiram-se para Sul. Estabeleceram-se no vale do Nabão e ocuparam, ainda, uma parte considerável da Estremadura. Em 1220 o Concelho do Germanelo era limitado a Sul pelo Rio Zêzere.

D. Afonso Henriques estava empenhado em atrair novos povoadores para aquele local um pouco inóspito e território de fronteira estabelecendo condições únicas. O Monarca determinou que os criminosos (violadores, assassinos, ladrões e, outros fugitivos da lei), que na fuga alcançassem os limites do concelho do Germanelo, pudessem ver os seus crimes perdoados. Seria suficiente o castigo de viver ali. Fez-se do novo Concelho – um Couto de Homiziados.

Neste espaço temporal o concelho do Germanelo, através dos seus povoadores, constituiu um importante baluarte para travar o avanço do inimigo para Norte (através da via romana) contribuindo, de forma decisiva, para a fundação da nacionalidade.

ENQUADRAMENTO

O monte do Germanelo, também conhecido como Monte do Castelo, é uma pequena elevação a 367 metros de altitude, que abrange os Concelhos de Penela e Ansião, geologicamente constituído por uma zona cársica dominada por calcários margosos.

No castelo deparamo-nos em primeiro com o vale onde se situam, entre outras, as aldeias de Rabaçal e Zambujal.

Em segundo plano fica a Serra do Rabaçal, o Monte Maria Pares e o Monte da Pega. A Sul, observa-se a elevação suave e piramidal do monte gémeo, o Jerumelo seguido do Monte da Ateanha e do Monte de Vez. A Nascente, situa-se a Vila de Penela e a Serra do Espinhal.

A construção do castelo encontra-se ligada ao processo da Reconquista Cristã tendo sido erguido por D. Afonso Henriques em 1142. Propriedade da família do Prof. Doutor Salvador Dias Arnaut, que foi o responsável pela reconstrução da muralha Norte, este monumento foi objecto de um protocolo de cedência celebrado com o Município de Penela.

A LENDA DOS “IRMÃOZINHOS”

Conta a lenda que em cada um dos montes habitava um ferreiro – os irmãos Germanelo (a norte) e Jerumelo (a sul).

Os seus pais seriam pobres, não teriam mais que deixar a estes irmãos do que apenas duas forjas, um martelam e a arte de trabalhar.

Estando cada um em seu monte com a sua respectiva forja, o martelo serviria alternadamente.

A curta distância entre o topo dos dois montes permitia que os irmãos, dois gigantes, atirassem o martelo um ao outro quando dele precisavam.

Assim, nas redondezas escutar-se-ia com frequência os dois ferreiros a comunicarem entre si -“Germanelo passa para cá o martelo” e em contraposição - “Jerumelo, atira para cá outra vez o malho”.

Um dia, Jerumelo zangou-se com o irmão e atirou-lhe o martelo com tanta força que este se desconjuntou, caindo o ferro na encosta do monte Germanelo, fazendo brotar uma fonte de água férrea de onde surgiu a povoação da Fartosa (em 1160 dizia-se Ferratosa e em 1420 já era designada por Ferretosa). O cabo de madeira de zambujo, mais leve, foi espetar-se numa terra a dois quilómetros de distância, fazendo nascer um zambujo, originando o nome da povoação de Zambujal.

Informação Blibliográfica,

Câmara Municipal de Penela. www.rabacal.net/index.php?option=com_content&view=art...

Taken on iPhone 5 using HDR mode and edited with Snapseed. 75/365

At the Aiken city limits, AIKR 4202 switches some cars onto the Charleston siding in Aiken, SC--on the original South Carolina Canal and Rail Road (later South Carolina Railroad) line--before taking a load to AGY Aiken just a short distance down the line. Dec. 31, 2019.

Ha! This is an ad for a TV show popular in the 1960’s aptly called, “The Outer Limits”.

I have never seen it, but I thought this ad in a vintage TV guide looked as though a child of 9 drew it.

For my Flickr groups…

Well, look at that! Another sunny winter day in Kirkland. I couldn't resist taking a mid-afternoon stroll around the building. It was just too nice to pass up fresh air and a little bit of warmth from the sun.

LOMO LC-A / Kodak Versatility 400

grenzenlose Freiheit über den Wolken

Don't mind me, waiting for the tide

I might be staying for some time.

Cause it's got some hold on me

Lifting my-myself from this spirit life

I'm stuck in a routine, routine

Arctic Lake - Limits

www.youtube.com/watch?v=4TtHcI7PW3Y

Història:

Les disposicions en matèria d’higiene dictades per Carles III al segle XVIII que obligaven a l’eliminació dels antics cementiris parroquials fora dels límits urbans, van obligar a traslladar-los fora dels centres urbans en que havien estat fins aleshores. L’aplicació d’aquestes disposicions va ser molt dilatada en el temps, per les evidents dificultats d’ordre pràctic que representaven a les àrees urbanes, però també en les zones rurals.

Aquesta situació es l’origen de la creació del Cementiri d'Olius.

Per acomplir aquestes disposicions governamentals, es va encarregar l’any 1915 a l’arquitecte diocesà de Solsona - a la que pertany el municipi d'Olius - Bernardí Martorell i Puig, home de confiança del aleshores bisbe de Solsona - més tard anomenat Cardenal Francesc d'Assis Vidal i Barraquer, que havia pres possessió del bisbat l’any 1914 -.

Bernardí Martorell i Puig, deixeble de Gaudí - que influeix fortament en el seu estil -, va ser un arquitecte modernista tardà, es a dir de l’últim període d’aquest estil en que aquest ja anava essent substituït pel Noucentisme. De fet, a la capital del país - Barcelona -, en aquests anys gairebé no s’hi construïen ja, ni pels més aferrissats arquitectes modernistes, edificis d’aquest estil. Però, la força amb que el modernisme havia arrelat a tot Catalunya, una força basada en la potent convicció nacional del poble català, feia que aquest estil hagués entrat profundament en l’Imaginari col·lectiu com un sinònim d’emancipació nacional.

Martorell i Puig era també nebot d’un altre gran arquitecte modernista, en Joan Martorell i Montells (1833-1906) que va proposar Gaudí com a arquitecte de la Sagrada Família. Amb aquests antecedents, no es estranya la preferència de Bernardí per aquest estil amb el qual va construir nombrosos edificis religiosos i laics.

Així, doncs, el modernisme potser havia reculat a Barcelona, però la resta del país el sentia com a seu i el seguia utilitzant com a element arquitectònic i artístic per la realització de tota mena d’obres d’art. Aquest va ser el cas del cementiri d'Olius.

De les vicissituds de la construcció, se’n conserven alguns documents, com la petició feta el 2 de febrer de 1916 pel rector Mossèn Melitó Perarnau, que demana al bisbe poder beneir el nou cementiri. Un altre document de l'1 d’octubre de 1916 detalla el cost de l’obra que va ser de 2.431'- Pessetes de l’època (14,61 Euros), també detalla les contribucions dels veïns per sufragar el cost de l’obra en proporció a la seva capacitat econòmica.

El fet de que els habitants d'Olius hagin mantingut, des de la seva construcció fa més de noranta anys, amb seny i respecte el seu cementiri evitant d’introduir-hi elements estranys, ha permès de guardar-hi el seu estil i bellesa primitiva.

L’arquitecte:

Bernardí Martorell i Puig (1877-1937) neix a Barcelona, curiosament en un carrer - Passatge Bernardí Martorell - que duia el nom d’un il·lustre polític i empresari avantpassat seu.

Acaba la carrera d’arquitecte l’any 1902 i molt aviat acaba les seves primeres obres l’any 1904, es tracta del Col·legi de les Teresianes, a Vinebre i Can Ferran a Arenys de Mar.

Molt aviat comença la seva actuació com a arquitecte diocesà no només a Solsona, sinó també a Barcelona i Tarragona.

Per la diòcesi de Solsona signa l’any 1917 el projecte de l’església de Puigreig, l’any 1919 la de Figols de les Mines, el 1928 la de Mollerussa.

Prèviament certifica diverses obres en esglésies del bisbat, a més de les obres del seminari conciliar de Solsona l’any 1918 i a l’església de Lladurs, l’any 1921. Potser però, la seva obra més important al bisbat es el cementiri d'Olius.

Es autor d’altres edificis religiosos com el Convent de Valldonzella de Barcelona (1916), l’església i convent de les Oblates de Bellesguard (1929), l’església de Sant Agustí de Sabadell (1932), Església dels Escolapis de Sabadell (1924), Col·legi de les Teresines de Tarragona (1926), Església del Santíssim Redemptor de Barcelona (1926), l’església parroquial de Navàs (1931).

Edificis civils a senyalar son: les Escoles de Capellades i el celler de la Cooperativa de Cambrils (1921), Can Montal a Arenys de Mar (1921), la casa de Joaquim Duran i Barraquer a Sitges (1929). Una obra molt important a Solsona es l'Hotel Sant Roc, que encara que començat per l’arquitecte Ignasi Oms i Ponsà, va ser continuat i acabat a la mort d’aquest per Bernardí Martorell.

La guerra civil (1936-1939) va ser fatídica per Martorell, ja que va ser empresonat, probablement a causa de les seves conviccions religioses i el seu treball per l'Església catòlica. L’any següent 1937 va morir.

Descripció:

El cementiri ocupa un espai de roques caigudes, voltades d’alzines, en que pràcticament no s’ha alterat l’entorn natural. Es combinen, doncs, un símbol de la mort, les roques caigudes i un símbol de la vida, les alzines sempre verdes - l’alzina es un arbre de fulla perenne, molt típic del país. Aquests elements - mort i vida - sempre son simbòlicament presents en un cementiri cristià.

L’entrada està formada per un arc parabòlic típicament gaudinià, d’una gran senzillesa i elegància, que trobem després de pujar per una amplia escalinata de pedra rústica. Aquesta porta, no es el punt d’obertura d’una tanca de pedra, com es habitual a tots els cementiris catalans, sinó que es un element edificat entre dues enormes pedres, que amb altres elements naturals serveixen de tancament del recinte.

A l'interior hi apareix un espai relativament ample de planta irregular, adaptada al terreny, on les tombes i els panteons en bona part excavats en les roques, segueixen el sentit ascendent de la muntanya.

Sobresurt una esvelt apilament de petites pedres en forma cònica que culmina en una típica creu gaudiniana de quatre branques - essent el punt més alt del cementiri -. Al peu d’aquesta construcció hi ha la tomba dels rectors d'Olius, de molt senzilla factura amb una estela circular d’un diàmetre aproximadament d’un metre en que figura seguint el cercle la declinació en llatí de la paraula "Mort".

Per tot el recinte hi trobem, tal com ja hem dit, panteons tallats a la roca, però també senzilles creus de ferro forjat i en totes elles el nom de les persones enterrades i la data de la seva mort com a úniques inscripcions. El mausoleu més important es una senzilla capella feta de pedra rústica a la dreta de l’entrada del cementiri.

El cementiri d'Olius integrat en la natura i el paisatge del seu entorn, es un model d’imaginació, expressivitat, llibertat, fantasia i una expressió funerària de l’art Modernista popular única a Catalunya i al món.

Comparació amb altres obres modernistes funeràries:

A Catalunya hi podem trobar moltes mostres de tombes i panteons modernistes Arenys, Barcelona, Canet de Mar, Figueres, Lloret de Mar i molts d’altres, molt interessants i dignes de ser visitats, però com a conjunt, el cementiri d'Olius es únic.

El mateix podem dir d’altres monuments fúnebres en altres països - recordem a tall d’exemple el Crematori de la Chaux de Fonds a Suïssa, alguns panteons del Cementiri de Milà a Itàlia, el Cementiri de Comillas a Cantàbria a Espanya (obra, per cert, del nostre Lluís Domènech i Montaner) i molts d’altres en diversos països europeus i fins i tot americans com alguns panteons del Cementiri de La Havana a Cuba, al Brasil o a l'Argentina. En general trobem en tots ells espectaculars dissenys modernistes d’un tarannà més aviat aristocràtic en contrast amb la senzillesa i l’esperit popular i rural d'Olius.

No Limit

theouterlimitsinstitute.wordpress.com/

Goal: To create key art for our upcoming youth series chronicling the outer limits of evangelism that occurred in the book of acts.

Direction: We wanted to key of the look and feel of lost, in particular the Dharma videos. Throughout this series we are going to use odd cryptic videos and posters dealing with each message.

The messages will be:

Message one: Teleportation (Acts 8:26-40 Philip and the Ethiopian Eunuch)

www.flickr.com/photos/tablerock/6986103817 theazotusproject.wordpress.com/

Message two: Telekinesis (Acts 16:19-34 Paul and Silas in Jail)

www.flickr.com/photos/tablerock/6865564692 operationbreakout.wordpress.com/

Message three: Paranormal Activity (Acts 19:1-20 Paul in Ephesus)

www.flickr.com/photos/tablerock/7022556225 thescevaseven.wordpress.com/

Message four: Reanimation (Acts Acts 28:1-10 Paul on Malta)

Project: This will be the title slide.

As always your comments and feedback are appreciated.

Tokyo, Japan

Pong, and a bunch of mylar

Sweden

Ein altes Mühlenwerk

The fourteenth among the 24 solar terms usually falls around 23 August when the sun reaches the celestial longitude of 150 degrees and signifies that summer is coming to an end.

During this period, the weather fluctuates; it is occasionally humid like summer and sometimes dry like autumn. It is good to eat Chinese dates, ricebean, lotus seed, black soy bean, etc. Some types of seafood can help get rid of internal dampness while nourishing the yin, such as cuttlefish, crucian carp, hairtail fish, mudfish, oyster and clam. As temperature deviations between morning and night become more pronounced, it is advised to shut windows and cover the tummy with a thin sheet to keep warm.

Kemmerer, Wyoming

límites de velocidad.

Zorki 4K

Jupiter 8

Ilford FP4

The Family Travel Plan includes a luggage limit of 300 pounds...

This girl... As soon as she sees me with a camera, she quickly totters in my direction and starts to lick. Stop licking, Bobby, you crazy girl! Calm yourself!

Ein 1 € - Stück in maximaler Vergrößerung mit den Raynox-Achromaten DCR150 (links) und DCR250 (rechts) fotografiert.

Vivitar 35em testroll, Agfa Color 200, fatta a mano libera.